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Stereo Realist Stereo Realist This camera manual library is for reference and historical purposes, all rights reserved. This page is copyright© by , M. Butkus, NJ. This page may not be sold or distributed without the expressed permission of the producer I have no connection with any camera company On-line camera manual library This is the full text and images from the manual. If you find this manual useful, how about a donation of $3 to: M. Butkus, 29 Lake Ave., High Bridge, NJ 08829-1701 and send your e-mail address so I can thank you. Most other places would charge you $7.50 for a electronic copy or $18.00 for a hard to read Xerox copy. This will help me to continue to host this site, buy new manuals, and pay their shipping costs. It'll make you feel better, won't it? If you use Pay Pal, use the link below. Use the above address for a check, M.O. or cash. Back to main camera manual page IMPORTANT NEW FEATURES IN YOUR Stereo-Realist CAMERA (Separate booklet) DOUBLE EXPOSURE CONTROL A completely automatic device that now makes it impossible to accidentally double expose your film, yet enables you to make time exposures and also to make single exposures and double exposures for Hypo-Stereo, Hyper-Stereo and trick Stereo work. INSTRUCTIONS FOR OPERATION OF NEW DOUBLE EXPOSURE CONTROL To prevent Double Exposures Leave double exposure button (indicated by arrow) in this position. With button pushed in you cannot fire shutter again until film is advanced. To take Single Exposures - 1. Cap left lens. 2. Cock the shutter. 3. Expose first picture. 4. Cap right lens. 5. Then without transporting film for next picture pull double exposure button out and release. 6. Cock the shutter. 7. Expose second picture. For Time Exposures you must 1. Pull double exposure button out and off center so button remains in extended position. 2. Take time exposure. 3. Be sure to release double exposure button when you are through taking your time exposure(s). To take Intentional Double Exposure - 1. Cock shutter. 2. Expose picture. 3. Then without transporting film for next picture pull double exposure button out and release. 4. Cock the shutter. 5. Expose picture. You have now made an intentional double exposure. Camera will return to automatic double exposure prevention after each intentional double exposure. DEPTH OF FIELD SCALE An important feature of your Stereo-REALIST. The Depth of Field Scale indicates the maximum range of sharpness, from the nearest point to the farthest point, that may be obtained with your REALIST camera for each particular picture taking condition. The Depth of Field Scale consists of two sets of numbers opposite the distance scale on your focusing knob. The lower set of numbers, below near on the scale, indicates the near distances at which your camera lenses are in sharp focus, depending upon the f stop number you have chosen. The upper set of numbers, above far on the scale, indicates the far distances, depending upon that same f stop number. The corresponding upper and rawer numbers on your Depth of Field Scale indicate the range of sharpness in your picture in their relation to the distance scale. HOW TO USE YOUR DEPTH OF FIELD SCALE A good stereo picture is sharp from the nearest to the farthest point. When you take a stereo picture, you are trying to exactly duplicate the scene as your eyes see it. The pictures you take should be just as sharp as the actual scene. The Depth of Field Scale helps you obtain this over-all sharpness. The Depth of Field Scale indicates the maximum range of sharpness, from the nearest point to the farthest point, that may be obtained when taking a picture of a given subject. The depth of field is dependent on two variables, the f stop you have chosen and your distance setting. The range of sharpness is found by using the same upper and lower number on your Depth of Field Scale as the one used for your f stop opening. in some instances, it may be necessary to estimate the depth of field numbers when they are between those marked on the scale. EXAMPLES: If after using your rangefinder, the arrow indicates on the distance scale that you are 10 feet away from your point of focus, and the f stop you have chosen for the proper exposure is f:5.6, the range of sharpness for that picture will be from 7 feet (between 5 and 8) indicated on the lower range of numbers, to 17 feet indicated on the upper range of numbers. if you choose f:l6 as your f stop for the same distance (10 ft.) your picture range of sharpness will be from 5 feet to infinity. If you are 3 1/2 feet away from your subject, the maximum range of sharpness for that subject is from approximately 2 1/2 feet to 5 feet at f:l6. It is important remember when taking close-ups with the subject extremely close, that the range of sharpness is greatly reduced. in these cases, small lens openings are recommended to yield the greatest possible depth of field. You will sometimes be forced to use a certain lens opening because of light conditions. For instance, you are in the mountains, the light is very bright, you have chosen an exposure of 1/50th of a second with a lens opening of f:8. The Depth of Field Scale can now be used to bring your maximum range of sharpness to infinity by moving infinity on the distance scale opposite 8 on the upper range of numbers. if you will note on the lower range of numbers, 9 feet is opposite f:8— indicating the range of sharpness is from 9 feet to infinity in ail pictures. it is best to check the distance of a near object in your picture to be sure it is not closer than 9 feet. Another way to use your Depth of Field Scale would be to find the distance of the nearest object and the farthest object with your rangefinder. Let us say, the normal exposure is 1 /50th at f:6.3 and the nearest object is at 5 feet and the farthest distance is infinity. Then the f stop you could use would be f:l6, which would require a shutter speed 1/5th of a second. in this particular instance, a tripod or similar support must be used. Imagine you are taking a flash picture, there is a chair in the immediate foreground at 5 feet, a wall at 15 feet, and a group of people behind a Able at about 8 or 9 feet. Try f 8—this gives you a setting on the upper range of numbers on the Depth of Field Scale of about 11 or 1 2 feet, when setting 5 feet on the distance scale opposite number 8 on the lower range. if you go to f:11 on the scale, you have the correct lens opening or f stop for a near distance of 5 feet and a far distance of between 15 and 25 feet. The Depth of Field and Hyper focal Table found on page 17 of your instruction book will give the complete range of sharpness for all distances.* NOTE: There is not a sharp breaking off point between what is sharp and what is not sharp. Some leeway can be allowed before your pictures will become out of focus. EXPOSURE TABLE This convenient index, for basic exposures most open encountered when taking color pictures outdoors, is located under the lens cover. STEREO REALIST The first American made, precision built, true stereoscopic camera. Foreword if you are, as the owner of a new Stereo REALIST one who is about to use a stereoscopic camera for the first time, a rare thrill is in store for you. Your Stereo REALIST pictures will be so natural, so real, that you will almost expect them to come to life. On the other hand, if you are one of the many persons who have taken stereoscopic pictures in the past, it is probable that you have been limited to black and white film. Yours is now the new thrill of full color complemented by the third dimension—a technical achievement resulting in complete realism. Stereoscopic (and let's not call it "stereopticon," which is something else) photography is not new. It is, in fact, as old as photography itself, and the principles of stereoscopy were known long before that. As early as the sixteenth century, diagrams were drawn incorporating the elements of binocular vision and three dimensional seeing. In the Stereo REALIST therefore, we claim nothing new in principle. You will, however, find your REALIST to be a precise, well designed, high quality camera correctly incorporating the long known principles of stereoscopy, and at the same time taking full advantage of the latest developments in materials, lenses, mechanical design and color film. We are proud of the Stereo REALIST. it is not the result I of casual or hurried designing. We are confident you I will take pride in its ownership and experience much pleasure in using it. DAVID WHITE COMPANY Why we see stereoscopically We see stereoscopically or with the "third dimension" because we have two eyes. Close one eye and the ability to judge distance or depth is lost. Each of our two eyes sees things from a different viewpoint and this difference in viewpoint, however slight, is one of the tools used by our brain to read the third dimension into things seen by the eyes.
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